scholarly journals Musikalsk-estetisk erfaring som tilsynekomsthendelse

2020 ◽  
pp. 41-60
Author(s):  
Hanne Rinholm
Keyword(s):  
Aesthetic Experience ◽  
Musical Experience ◽  
Work Of Art ◽  
Late Modernity ◽  
The Status ◽  
The Subject ◽  
The Aesthetic

The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appropriate. Gumbrecht suggests applying Heidegger’s notion of ‘releasement’ (Gelassenheit) to aesthetic experience as a response to the ‘loss of world’ in late modernity. The essay shows how the event of appearance points towards features typically associated with the notion of musical experience as existential experience.

scholarly journals Dari Pengalaman Estetis ke Sikap Estetis dan Etis

MELINTAS ◽  
2014 ◽  
Vol 30 (1) ◽  
pp. 22
Author(s):  
Yeremias Jena
Keyword(s):  
Aesthetic Experience ◽  
Moral Action ◽  
Work Of Art ◽  
Ethical Action ◽  
The People ◽  
The Subject ◽  
The Aesthetic

Every encounter with a work of art has the potential to give birth to the aesthetic experience. The depth of the experience and its transformative effect is different on each person. However, as an experience, its existence is not in doubt. The problem lies on whether an aesthetic experience is something purely subjective or objective. If the aesthetic experience is objective, to what extent can it be accounted for? Could an aesthetic experience encourage certain ethical action? In this paper the author argues that an aesthetic experience is always moving between the directions of a pendulum, namely, when the artwork appeared to the awareness of the subject and when the experiencing subject narrated the experience. The author wants to defend one of the main positions in aesthetics which says that not only the aesthetic experience encourages a particular moral action, the artwork itself might often stand as a medium of a moral struggle for the betterment of the people.

scholarly journals The Role of Painting Activity as an Emotional Regulation in Children with Asperger Syndrome

2019 ◽  
Vol 8 (2S9) ◽  
pp. 666-672
Keyword(s):  
Asperger Syndrome ◽  
Character Education ◽  
Emotional Regulation ◽  
Aesthetic Experience ◽  
Self Confidence ◽  
Learning Programs ◽  
Research Findings ◽  
The Subject ◽  
The Aesthetic

Children with Asperger syndrome still need to be adjusted, in regulating their emotion, to their enjoyment in an activity that will be their emotional allocation. Art is able to improve their self-ability, to strengthen their self-confidence, and also to re-shape lack of knowledge about their own identity. This is because activity of art becomes a collection of inspiration, the aspect of imagination that is closely related to the aesthetic experience. This was a qualitative research as a study intended to understand the phenomenon of something that is experienced by the subject of research. For example: behaviour, perception, motivation, and action in holistic way and described in form of words and language, in a specific-natural context and by utilizing various methods. The research findings show that ability of emotional regulation is the ability of the subject in receiving and understanding a command, and then in minimizing tantrum, so that the subject is able to achieve a treatment therapy; including the subject's ability to identify and draw an object or other objects around them, to recognize some painting tools and to answer questions orally or in writing through the image media. The therapy can be packaged through art education based on painting activity which is the advantage of an area itself. Schools present learning programs that also support character education and the creative potential of the children, so that they can live independently later.

Neuroaesthetics

2017 ◽  
pp. 87-102
Author(s):  
Ana Teresa Contier ◽  
Laila Torres
Keyword(s):  
Perceptual Experience ◽  
Aesthetic Experience ◽  
Functional Neuroimaging ◽  
Imaging Techniques ◽  
Neural Architecture ◽  
History Of ◽  
System Memory ◽  
The Subject ◽  
The Aesthetic

The aesthetic experience has been discussed throughout the history of mankind by philosophers and art historians, becoming a universal part of human experience, which leads us to some great interdisciplinary questions. It has been the subject of study by neuroscientists and neuro-psychologists since the 2000s. This recent evolution of neurology studies in the field of art, is due to in vivo brain imaging techniques, especially functional neuroimaging. Furthermore, recent research has provided evidence of cognitive interaction during the perception of an artwork indicating that the perceptual experience of art is not merely a passive one. This article reviews important studies in neuroaesthectics of visual art that point out that the aesthetic experience is related to the distribution in the neural architecture, suggesting the involvement of sensory-motor areas, emotional centers, reward system, memory and language.

Philosophical Aspects of Literary Objectiveness

1998 ◽  
pp. 77-84
Author(s):  
Endre Kiss
Keyword(s):  
Literary Work ◽  
Philosophy Of Art ◽  
Crucial Importance ◽  
Work Of Art ◽  
Artistic Experience ◽  
Scientific Analysis ◽  
The Status ◽  
The Aesthetic ◽  
Definition Of ◽  
General Fact

Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation (and so in a complete indifference towards literary objectiveness), but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.

Heroic Aesthetics and Modernist Critique: Extrapolations from Bakhtin's Author and Hero in Aesthetic Activity

Slavic Review ◽  
2008 ◽  
Vol 67 (3) ◽  
pp. 551-566 ◽  
Author(s):  
Ilya Kliger
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Literary Analysis ◽  
Modernist Literature ◽  
The Status ◽  
Longue Duree ◽  
The Subject ◽  
Longue Durée ◽  
Modernist Discourse

Ilya Kliger addresses the question of Mikhail Bakhtin's intervention in modernist discourse by taking a step back from Bakhtin's views on modernist literature and outlining instead a more general Bakhtinian conception of the modernist condition as characterized by what Kliger calls “a crisis of authorship.” The article focuses on Bakhtin's early work in narratological aesthetics and situates it within the longue durée context of debates about the status of the subject of aesthetic experience and, more generally, of knowledge, debates that can provisionally be seen as originating at the end of the eighteenth century and coming to a head within the intellectual and creative milieu of twentieth-century modernism. Early Bakhtin helps us formulate a specifically modernist—by contrast with what will be called “transcendental” and “realist“—critique, a critique not limited to the field of literary analysis alone but applying to all forms of thinking that either presuppose abstract subject-object division or rely on modes of synthetic reconciliation.

scholarly journals Where the Twin Oceans of Beauty and Horror Meet: An Aesthetic Analysis of Annie Dillard's Pilgrim at Tinker Creek // Donde los océanos gemelos de belleza y horror se encuentran: Un análisis estético de Pilgrim at Tinker Creek de Annie Dillard

2016 ◽  
Vol 7 (2) ◽  
pp. 85-97
Author(s):  
Anastasia Cardone
Keyword(s):  
Aesthetic Experience ◽  
Nature Writing ◽  
Annie Dillard ◽  
Natural Signs ◽  
Letting Go ◽  
The Subject ◽  
Modern Vision ◽  
The Aesthetic ◽  
Concept Of Beauty ◽  
Aesthetic Concepts

      Although Annie Dillard's masterpiece Pilgrim at Tinker Creek (1974) has conventionally been analyzed as a piece of Nature writing embedded in the Thoreauvian tradition, little has been said about the aesthetic concepts that underlie the text and Dillard's entire take on Nature. This research applies the concepts of Baumgarten's “science of sensible knowledge” to the narrator's perceptions in order to demonstrate that Dillard's ultimate message is the acceptance of Nature, even in its seemingly inhuman places. The study begins with the analysis of the structure of the book, which outlines two types of experience of Nature. Thevia positivais related to the aesthetic concept of beauty and to an active participation of the subject in the aesthetic experience of seeing as a verbalization, whereas the via negativais linked to the concept of the sublime and the experience of seeing as a letting go. Furthermore, the analysis employsand develops Linda Smith's valid conclusions (1991) to show how these two paths join in a third mystical and aesthetic path, the via creativa. By leaving the interpretation of natural signs open-ended, Dillard's modern vision enables the author's total acceptance of Nature's freedom, which fosters its beautiful intricacy as well as its horrible fecundity. Thus, Nature's creativity becomes the basis for an aesthetics of Nature's wholeness, which leadshuman beings to embrace the true essence of Nature, freed from anyprejudices.Resumen       A pesar de que Pilgrim at Tinker River (1974), obra maestra de Annie Dillard, ha sido analizada convencionalmente como una pieza de literatura y medio ambiente incrustada en la corriente Thoreauviana y ha sido estudiada extensivamente, poco atención se le ha prestado a los conceptos estéticos que subyacen la obra y que pueden servir para comprender mejor la opinión de Dillard sobre la naturaleza. Por lo tanto, esta investigación aplica los conceptos de “ciencia del conocimiento sensible” de Baumgarten a la percepción del narrador con el fin de demostrar que el mensaje final de Dillard es la aceptación de la naturaleza, incluso en sus lugares aparentemente inhumanos. El estudio comienza con el análisis de la estructura del libro, que describe dos tipos de experiencia de la naturaleza relacionados con caminos místicos que llevan a Dios, dentro de la teología Neoplatónica. La vía positiva está asociada al concepto estético de la belleza y a la participación activa del sujeto en la experiencia estética de ver, la cual es definida como una verbalización. Por otra parte, la vía negativa está vinculada con el concepto de lo sublime y la experiencia de ver como un dejar ir. Además, el análisis emplea y desarrolla las válidas conclusiones de Linda Smith (1991) para mostrar cómo estos dos caminos se unen en un tercer camino místico y estético, la vía creativa. Al dejar la interpretación de signos naturales abierta, la visión moderna de Dillard permite al autor la total aceptación de la libertad de la naturaleza, lo que fomenta su hermosa intrincación, así como su horrible fecundidad. Así, la creatividad de la naturaleza se convierte en la base para la estética de la naturaleza en su totalidad, lo que lleva a los seres humanos a aceptar y respetar la verdadera esencia de la naturaleza, libre de cualquier prejuicio.

scholarly journals La experiencia estética y los estratos de la obra de arte. La estética como la esencia del arte

2014 ◽  
pp. 265
Author(s):  
Pau Pedragosa
Keyword(s):  
Lived Experience ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
The Difference ◽  
Siglo Xix ◽  
The Aesthetic ◽  
Xix Century ◽  
Siglo Xx

El contenido de este artículo consiste en mostrar que la experiencia estética es la esencia de la experiencia de la obra de arte. Argumentaré en contra de la concepción del arte de Arthur C. Danto según la cual el arte moderno ya no requiere de la experiencia estética y este hecho determina el fin del arte. La experiencia estética permitiría dar cuenta del arte desde el Renacimiento hasta el siglo XIX pero el arte moderno del siglo XX solo puede ser explicado conceptualmente y, por tanto, la filosofía del arte es necesaria para explicitar ese contenido.Para defender el estatuto estético de la obra de arte mostraré que la experiencia estética se identifica con la experiencia fenomenológica. Esto quiere decir que la experiencia estética nos hace concientes de la diferencia entre el contenido de la obra (lo que aparece ) y el medio de la experiencia sensible en el que este contenido se da (el aparecer). El “aparecer” y “lo que aparece” se corresponden en la experiencia estética con los dos polos de la relación intencional y constituyen los dos estratos fundamentales de la obra de arte. A través de la aproximación fenomenológica intentaré mostrar que la obra de arte no excluye el contenido conceptual, pero este contenido ha de estar necesariamente incorporado. No es la filosofía la que tiene que comprender este contenido sino exclusivamente la experiencia estética.The subject of this paper is to claim that the aesthetic experience is the essence of the experience of the work of art. I argue against the view hold by Arthur C. Danto, according to which modern art does not require the aesthetic experience any more and that this fact means the end of art. The aesthetic experience allows explaining only the art made be-tween the Renaissance and the XIX century. The modern work of art of the XX century can only be explained conceptually and therefore a philosophy of art is required to make that content explicit and clear.To defend the aesthetic status of the work of art I will show that the aesthetic experience identifies itself with the phenomenological ex-perience. This means that the aesthetic experience makes us aware of the difference between the content of the work (what appears) and the sensible lived experience in which this content appears (the appearance). The “appearance” and “what appears” are the two poles of Intentionality and the two fundamental layers of the work of art. Through the phenomenological approach I will make clear that the work of art does not exclude the conceptual content at all. This content has to be necessarily embodied. It is not philosophy that has to disclose this con-tent but the aesthetic experience alone.

L'esthétique de Hegel au carrefour de la parole et de l'action

Dialogue ◽  
2000 ◽  
Vol 39 (4) ◽  
pp. 745-770
Author(s):  
Claude Thérien
Keyword(s):  
Aesthetic Experience ◽  
Philosophical Perspective ◽  
Modern Subject ◽  
The Subject ◽  
The Aesthetic

AbstractThe following paper is not a literal exegesis of Hegel's æsthetics, but rather the attempt to encounter his æsthetics from a philosophical perspective which considers the æsthetic experience as intuition of finitude. From this perspective our purpose is to indicate the contemporary philosophical relevance of Hegel's æsthetics by underscoring some elements of it which can help us to rethink the relation between æsthetic experience and the subject in his interaction with his world. The question of this essay is: how can æsthetic experience be a substantial experience for the modern subject?

Watching Textual Screens Then and Now: Text Movies, Electronic Literature, and the Continuum of Countertextual Practice

CounterText ◽  
2016 ◽  
Vol 2 (2) ◽  
pp. 172-190 ◽  
Author(s):  
Steven Wingate
Keyword(s):  
Aesthetic Experience ◽  
Computer Code ◽  
Sense Making ◽  
Experimental Film ◽  
Electronic Literature ◽  
Visual Poetry ◽  
The Status ◽  
The 1960S ◽  
The Aesthetic ◽  
The Continuum

Contemporary works of electronic literature that focus on the use of moving text are aesthetically related to the text movies that arose in the experimental film community, particularly in the 1960s, and both share much in common with concrete and visual poetry. Though criticism has traditionally placed a barrier between works of electronic literature and cinematic text movies on the basis of their perceived medium (cinema characterised by emulsion and electronic literature characterised by computer code), textual screen works originating from both media utilise similar techniques in the presentation and manipulation of text. Interactivity is potentially a differentiator between electronic literature and cinema, but this distinction is negated by the fact that not all works of electronic literature are interactive (that is, they do not require an interactor in order to function). The increasing digitisation and, to a lesser extent, interactivity of cinema also argues against placing a gap between electronic literature and cinematic works that utilise the textual screen. Text movies, visual poetry, and other digital works featuring moving text can be seen as belonging to the same family; they are united by the aesthetic experience of perceiving them, which derives from a dynamic tension between the act of reading and the act of watching. Taken together, they form a continuum of countertextual practice that involves the destabilisation of reading and the displacement of literary significance away from traditional means of sense-making and towards the use of text-as-objects that do not always achieve the status of language.

Performatywny charakter estetyki

2019 ◽  
Vol 26 (26) ◽  
pp. 32-50
Author(s):  
Grzegorz Dziamski
Keyword(s):  
Aesthetic Experience ◽  
Marcel Duchamp ◽  
Popular Art ◽  
History Of ◽  
The Subject ◽  
Louise Bourgeois ◽  
The Aesthetic ◽  
Definition Of ◽  
Cognitive Perspectives ◽  
Making Art

Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficiently defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its major tasks include the defence of popular art, polishing the concept of aesthetic experience, aestheticization of everyday life and de-aestheticization of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limitations, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nelson Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has expressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief.

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